16 mm film is a historically popular and economical gauge of film. 16 mm refers to the width of the film (about 2⁄3 inch); other common film gauges include 8 mm and 35 mm. It is generally used for non-theatrical (e.g., industrial, educational, television) film-making, or for low-budget motion pictures. It also existed as a popular amateur or home movie-making format for several decades, alongside 8 mm film and later Super 8 film. Eastman Kodak released the first 16 mm "outfit" in 1923, consisting of a Ciné-Kodak camera, Kodascope projector, tripod, screen and splicer, for US$335 (equivalent to US$6,182 in 2024). RCA-Victor introduced a 16 mm sound movie projector in 1932, and developed an optical sound-on-film 16 mm camera, released in 1935.
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👉 16 mm film in the context of Bolex
46°27′19″N 6°23′24″E / 46.45535°N 6.390115°E
Bolex International S. A. is a Swiss manufacturer of motion picture cameras based in Yverdon located in Canton of Vaud, the most notable products of which are in the 16 mm and Super 16 mm formats. Originally Bol, the company was founded in 1925 by Charles Haccius and Jacques Bogopolsky (aka Bolsey or Boolsky), the company's name having been derived from Bogopolsky's name. In 1923 he presented the Cinégraphe Bol at the Geneva fair, a reversible apparatus for taking, printing, and projecting pictures on 35 mm film. He later designed a camera for Alpa of Ballaigues in the late 1930s.
16 mm film in the context of Film theory
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. Film theory is not to be confused with general film criticism, or film history, though these three disciplines interrelate. Although some branches of film theory are derived from linguistics and literary theory, it also originated and overlaps with the philosophy of film.
16 mm film in the context of Film gauge
Film gauge is a physical property of photographic or motion picture film stock which defines its width. Traditionally, the major movie film gauges are 8 mm, 16 mm, 35 mm, and 65/70 mm (in this case 65 mm for the negative and 70 mm for the release print; the extra five millimeters are reserved for the magnetic soundtrack). There have been other historic gauges in the past, especially in the silent era, most notably 9.5 mm film, as well as a panoply of others ranging from 3 mm to 75 mm.
Larger film gauge is generally associated with higher image quality, higher image detail, greater materials expense, heavier camera equipment, larger and most costly projection equipment, as well as greater bulk and weight for distribution and storage (both interim and archival).
16 mm film in the context of Ciné-Kodak
The Ciné-Kodak was the first movie camera for 16 mm, manufactured by the Eastman Kodak Company and introduced in 1923. It was intended for home movie making. Kodak released additional models, including magazine-loading cameras as the Magazine Ciné-Kodak line and a line of 8 mm cameras under the Ciné-Kodak Eight sub-brand. The final 16 mm camera was the Kodak Reflex Special, released in 1961, dropping the Ciné-Kodak brand altogether; Kodak ceased production of 16 mm cameras in 1968, but continued to produce 8 mm and Super 8 film cameras under the Ektasound and Instamatic brands.